Friday, 29 January 2016

"I don't know where I'm
going from here, but I promise it won't be boring." - David Bowie, 1997

After the shocking passing of perhaps one of
the greatest contributors to the zeitgeist of every decade since the
1960s, the mainstream music media has been flooded with career
retrospectives of the late David Bowie. One area that is universally
brushed over is his work in the 90s which is generally lumped in with the artistic
plateau of the mid 1980s. And I think it is time for a re-evaluation
of the output during this time.

The 1980s saw a high-watermark
for Bowie in terms of popularity, however there were only really two
albums in this period that screamed of any flair and originality;
1980's 'Scary Monsters (And Super Creeps)' and 1983's 'Let's Dance'.
The subsequent albums of this period may have sold well but they were
infused with a sense of disinterest from their creator who seemed to
be having more fun working on films and their soundtracks than
focusing on his main albums.

Fast-forward to 1988 and David
Bowie does a complete u-turn by forming a band called Tin Machine. Although this wasn't an unprecedented move in Bowies' career, he had gone on tour as Iggy Pop's keyboard player in the '70s, this was however his first democratic band since the 1960s. The band's eponymous début received mixed
but overall positive reviews. But Bowie's low profile in a band that
had four equal members, who contributed to the writing and as a
result reaped the rewards equally, provided a sticking point for fans
of his high profile solo performances. Gone were the theatrics and in
its stead was stripped back rock 'n' roll. However this was he first
and most necessary step on the road to an artistic
rehabilitation.

1. 'Tin Machine II'

In
1990 Bowie's solo career took precedent as he embarked on his only "best of" tour which was dubbed Sound + Vision. This was accompanied by a
retrospective box set of the same name and then followed-up with a
compilation album 'ChangesBowie' with its new remix of the song 'Fame'. It was apparent Bowie was simply treading water. But in 1991 Tin Machine would
return with 'Tin Machine II' giving Bowie his first original studio album of
the new decade. It was less successful than it's predecessor but
still charted well and showed progression in song writing and style –
particularly on the part of guitarist Reeves Gabrels – who would go
on to colour a lot of Bowie's output for the rest of the decade.

Reviews of the album were less favourable this time around
despite some inspired tracks such as 'Baby Universal', 'If There Was
Something' (a Roxy Music cover), 'You Belong To Rock 'n' Roll', and
'Shopping For Girls'. Retrospective reviews have been much kinder to
the album and when listened to in isolation from Bowie's solo back
catalogue and in conjunction with 'Tin Machine' it is a much stronger
album than most gave it credit for at the time.

Gabrels
begins to add an industrial edge to his guitars thanks in part to a
personal obsession with Nine Inch Nails' 'Pretty Hate Machine'.
Bowie's presence isn't diminished and there is a greater sense of fun
in his performances. The band as a whole sound more confident in
their compositions and performance than on their début.

Sadly,
depending on your point of view, the band's second album would be
their last. A live album 'Live: Oy Vey Baby' would follow in 1992 but
this was universally panned by critics and plans for a second live
album were shelved. Yet Tin Machine had achieved its main purpose at
least and re-energised Bowie. Going back to his roots had rekindled
his inspiration.

2. 'Black Tie White Noise'

Re-energised from his work with Tin Machine and inspired by
his recent marriage to supermodel Iman Abdulmajid, 'Black Tie White
Noise' showed a level of passion not seen in Bowie's work since
'Let's Dance' ten years prior. This was Bowie looking forward while
taking stock of the past. Old school r&b, soul and rock
influences shine through, as does the performance of former Spiders
From Mars guitarist Mick Ronson, who would sadly die after the release
of this album. The David Bowie pop sound was given a more
contemporary twist with electronic and house music influences coming
through. And the subject matter given greater significance due to the
Rodney King verdict and subsequent LA riots.

As with 'Let's
Dance' it was right on the money for its time. Chic guitarist and
song writer Nile Rogers was brought on board just as he had been in '83 to give it the sheen it needed. This was Bowie reclaiming the pop mantel of his first undisputed
hit album, and as with 'Let's Dance' it sold well even if
critics lamented the lack of pure Bowie-esque artistic innovation.
But it was a further rehabilitation in the eyes of his long-time fans
and even if not as forward thinking as the subsequent output of the
decade would be 'Black Tie White Noise' was nonetheless an album that saw Bowie take stock
and reflect with.

Songs such as 'Jump They Say', 'Miracle
Goodnight', 'Black Tie White Noise', and 'Pallas Athena' were
received particularly well. But what would ultimately prevent the
album becoming more of a hit was the sudden filing for bankruptcy of
the label it was released on. It wouldn't be until the late 90s when
it would see a re-release. Also Bowie didn't tour the album so as a
result its profile inevitably shrunk.

3.
'The Buddha Of Suburbia'

Not a true Bowie album in
the sense of the rest of this list, but worthy of inclusion all the
same. 'The Buddha Of Suburbia' was the soundtrack to a four-part
television series based on the Hanif Kureishi novel of the same name
and initially broadcast on BBC 2 in 1993. Despite the fact the album
was conceived as a soundtrack it is more of a conceptual piece due to
the fact that only one song was used in the programme. For the actual score of the series Bowie
worked on the same motifs but reached different end results in order to musically colour the actual show.

Joined by multi-instrumentalist Erdal
Kizilcay. Pianist Mike Garson and even Lenny Kravitz the album is a
unique one in Bowie's catalogue and reconnects with his more
experimental side incorporating art rock, jazz, electronic and
ambient elements throughout. Songs such as 'The Buddha Of Suburbia',
'The Mysteries', 'Bleed Like A Craze, Dad', 'Strangers When We Meet',
and 'Untitled No. 1' all hold their own against earlier works.

Had
the album not been simply classified as a soundtrack and thus
receiving barely any promotion it would undoubtedly have been
received as one of Bowie's best albums of the decade. It feels raw,
almost unfinished – Bowie wrote and recorded it in less than a week
– bristling with a fevered energy and dynamic experimentation that
pulls toward a more alternative rock formula. This was Bowie truly
cutting himself loose from expectation and the end result is absolutely beautiful.

Again this was an album that was unjustly
unavailable for many years with many people thinking the title track, which was released as a single, was the only true version. Thankfully
though in 2007 it was re-released with a new cover and has taken its
place in the pantheon of Bowie's discography. Although still unjustly
written off as a mere soundtrack rather than a complete conceptual
work in its own right.

4. '1.
Outside'

'Outside', or to give it it's full title '1.
Outside: ("The Ritual Art-Murder of Baby Grace Blue: A
non-linear Gothic Drama Hyper-Cycle")' saw Bowie reconnect with producer and ex-Roxy Music member Brian Eno. The two last worked together for Bowie's famed “Berlin
Trilogy” of albums which comprised of 'Low' (1977), 'Heroes'
(1977), and 'Lodger' (1979). The album was a sprawling conceptual
piece that was based around a fictional diary story Bowie wrote for Q
Magazine in 1994. The story is set in the 21st century and
revisits the dystopian themes last aired on 'Diamond Dogs' in 1974. The plot follows detective Nathan Adler as he attempts to solve a murder
case bringing him into contact with a cast of strange characters. It is equal parts Blade Runner and Twin Peaks in terms of its
concept, and with the improvisational techniques of Eno returning to
the process it is easily one of Bowie's most intellectual, experimental
and heaviest albums.

The songs veer from electronic,
to alternative rock and into full-on industrial. Bowie and his band
went into the studio with no demos or ideas and Eno directed the
creativity using flash cards and exercises designed to break away
from song writing norms much in the same way he did in Berlin. Bowie
even revisits the cut up technique he showed the world on Alan
Yentob's Cracked Actor documentary in the '70s.

The studio
band was joined by former Tin Machine guitarist Reeves Gabrels whose
avant garde take on industrial rock contributed a lot to the final
sound of the album. Throw in the distinctive piano playing of Mike
Garson once again and the album displays some of the most unique
leads in his repertoire.

Songs such as 'Hearts Filthy
Lesson', 'Strangers When We Meet', and 'Hallo Spaceboy' – the
single of which was a remix/duet with The Pet Shop Boys – gained
significant airplay on radio and MTV and introduced Bowie's darker and
more artistic side to a younger audience already enamoured with
grunge and alternative rock. Soundtrack appearances followed in films
such as 'Lost Highway', 'Se7en', and 'Starship Troopers'. A now
legendary tour with Nine Inch Nails was undertaken and Bowie seemed to be
fully and artistically rehabilitated.

Sales were reasonable
and reviews generally positive. The sprawling nineteen track long
album complete with segues from the different characters made it a
little hard to take for fans of his pop era. But there are some real
gems here that would go on to give Bowie's live show a riotous update
and would lead him to re-imagine early works such as 'Andy Warhol',
and 'The Man Who Sold The World' in order for them to sit alongside
the new material.

5. 'Earthling'

Bowie
had intended '1. Outside' to be followed by two further albums, the
second of which had been announced as 'Contamination'. But Bowie
quickly moved on to newer ideas and in 1997 would release the tighter
and more drum 'n' bass and jungle influenced 'Earthling'. At the same
time Bowie turned 50 years old and was working and touring at the
rate of a man half his age. His live band included Reeves Gabrels,
Mike Garson and new bassist Gail Ann Dorsey and together they were delivering the
kind of stand-out performances not seen since the 1970s.

'Earthling' was a far more linear affair that continued
Bowie's exploration of electronic music and still effectively tapped
into the anxiety of the last years of the Millennium. This was
Bowie's first fully self-produced album since 1974's 'Diamond Dogs'
and on it he channelled the same intensity as his 1980 album 'Scary Monsters
(And Super Creeps)'. Recorded all digitally but forsaking the sample
based techniques of the usual drum 'n' bass and jungle artists in
favour of recording from guitar, drums and saxophone before
distorting the sounds in a synthesizer. The result is a brilliant and
dynamic exploration of aggressive electronic dance music that would
become synonymous with the turn of the century.

Where 'Outside' was an
indulgent and experimental album, 'Earthing' was more concise in its
approach to song writing. The album hits hard and fast with up-tempo
numbers like 'Telling Lies' (the first ever downloadable single to be
released), 'Little Wonder', and 'Dead Man Walking', while heavier
numbers such as 'I'm Afraid Of Americans' and 'Seven Years In Tibet'
kept the rich texturing and connection to the art rock and
alternative rock of his previous albums intact. The reviews and sales
were once again generally positive and the album charted higher than its predecessor. A long touring and promotional
campaign ensued further elevating its presence.

Elaborate videos were shot for the tracks
'Little Wonder', 'Dead Man Walking', 'I'm Afraid Of Americans', and
a concert footage video was created for 'Seven Years In Tibet'. Bowie
and his band headlined festivals and enjoyed a critically acclaimed
world tour as well as a 50th Birthday celebration live at
Madison Square Garden in New York which was broadcast on Pay Per View
and saw Bowie and co. joined by musicians such as Foo Fighters,
Robert Smith and Lou Reed.

While sales were still not topping
his platinum years Bowie's profile was as high as it had ever been
and the artist was enjoying cross-generational success with his
mature and intelligent take on alternative rock and dance music. As a result mainstream media acknowledged this with a flurry of award nominations.

6. 'Hours...'

After
the whirlwind energy of the previous two albums and Bowie's place as
a pioneer of the digital age was assured. With two ground-breaking albums
as well as the first steps made into the world of digital downloads now behind him, Bowie closed the millennium with a more thoughtful outing. 'Hours...'
kept the nods to alternative rock, dance music and electronica from
the previous albums but the pace is a much more mellow affair. The
cover art of a youthful looking Bowie cradling the exhausted
'Earthling' version of himself gave a clue as to the content within.

'Hours...' is the inevitable come-down after the adrenalin
spike of the mid-90s. The thoughtful look back at his life as well
as the previous 1000 years that accompanied the countdown to Y2K. The
album kept the concise and linear construction of 'Earthling' but
dropped the tempo and stripped back the textures for a more
contemplative record. The result is comparable to a more polished and
considered version of 'The Buddha Of Suburbia' soundtrack. It's art
rock meets easy listening. The influences of Moby, Beck, and even
Ryuchi Sakamoto in particular feature highly in this album, while
Reeves Gabrels tones down the guitar without taking away from his
avant garde flair.

The album had its roots in the soundtrack
for a video game called Omikron: The Nomad Soul for which Bowie also
contributed voice-over parts for a character based on him. This quickly evolved into a full album release. Bowie in the 90s was
obsessed with all things digital; 'Black Tie White Noise' had included
and interactive CD-rom disc that promised a virtual world to explore
(though the final product didn't quite live up to that). He also
dabbled digital art and photo manipulation in his own artwork as well
as on albums like 'Outside'. He even launched his own ISP called
BowieNet which included live casts, video streaming from his studio and even
a 3D chat environment (which is still accessible http://tinyurl.com/j4yl242). 'Hours...' was no different with Bowie
running an online competition for a fan to submit lyrics for a song
(that would ultimately become 'What's Really Happening?'), as well as
building on the ground-breaking digital single release of 'Telling
Lies' by making 'Hours...' available for download two weeks prior to
its physical release.

'Hours...' critically faired as well as
any of Bowie's previous albums, but the sales were poorer this time.
Which is a shame as the electronics may be more easygoing and the
rock elements a bit more smooth yet there is still a great deal to take away from this album. Songs like 'Thursday's Child',
'Survive', and 'Seven' are fine examples of Bowie's more
contemplative mood, while 'The Pretty Things Are Going To Hell',
'What's Really Happening?', and 'New Angels Of Promise' inject some
harder rock. The album's penultimate track, the stunning but brief instrumental, 'Brilliant
Adventure' recalls the second side of the 'Low' album and blends it with his long-standing fascination with Japan.

'Hours...' may have been a commercial disappointment for
Bowie at the end of a decade where sales figures were generally fluctuating for
him. But it is still a distinct and artistically valid album that
would lay the foundations for his post millennial releases 'Heathen'
and 'Reality' and therefore should not be dismissed.

Every generation had its own take on David
Bowie and his work. For someone born in the 1980s and growing up in a
90s household where music was as import part of life Bowie's earlier
works were always present. But in particular the albums of 'Outside',
'Earthling', and 'Hours...' were the ones for my generation where we
didn't necessarily discover Bowie but rather he helped us discover
ourselves. It's easy for someone who has made so many albums that
were ahead of their time to have multiple albums dismissed as as less
relevant based on their sales or exposure, but that doesn't dull
their worth or lasting legacy. Bowie's vision in the 1990s was right
on the money. He embraced the forthcoming digital revolution and the
music he made was just as innovative and relevant as any of the new artists that were emerging at the time. As a result these albums have stood the test of time well and remain a rewarding listening experience.

Thursday, 28 January 2016

Irish doom metal outfit Mourning Beloveth may have
been around fro a quarter of a century, but there is no sign that
their innovative and experimental approach to the genre is showing
any signs of letting up. The band's latest album, 'Rust & Bone'
is heavy on atmosphere and bleakness with their death-doom core
augmented by an almost cinematic swell of ambience that makes this
album a deeply enticing listening experience.

Across the five
sprawling tracks the band incorporate doom metal, death metal, black
metal and folk metal elements in varying quantities. Songs such as
'Godether', 'The Mantle Tomb', and 'A Terrible Beuty Is Born' in
particular play fast and loose with the genres as well as the heavy
and melodic elements of the band's sound. The end result is a rich
tapestry of mood and feelings set against bludgeoning doom. While the
likes of the brief interludes 'Rust' and 'Bone' provide dream-like
segues from one track to another.

The production fits the
earthy and atmospheric song writing very nicely. It is a little bit
rough around the edges, most overtly on the quieter and more melodic
sections. But when things get heavy (and they do) this is quickly
obliterated by the ferociousness of the recording.

'Rust &
Bone' is a brilliant example of doom metal done right. The band don't
rest on their laurels and continue to push their ideas. The song
writing, compositions, and performances are all high quality. As
mentioned before the production is a little off in places, but
nonetheless Mourning Beloveth have still crafted a stunning album
here and one perfect for this time of year.

Pankow may not be a household name but
they are certainly an important band. This electro industrial act
from Italy was an integral part in the early evolution of industrial
music. Starting with a palette of sonic experimentation reminiscent
of contemporary acts such as Throbbing Gristle, Einstürzende
Neubauten and Clock DVA and pre-dating the likes of Coil, the band
quickly enjoyed a cult status in the early movement, and have seen
consistent album releases right up until 2013's 'And Shun The Cure
They Most Desire' on Out Of Line.

'Throw Out Rite', the band's
début album released in 1983 had only been available as a cassette
at the time and has never seen a CD or even a vinyl run. Until now.
Thanks to Canadian label Artoffact who continue their run of
re-releases of rare but nonetheless important albums.

With a
familiar early ebm sound underpinning the album it's liberal
experimentation has ensured that the album still has a fresh and
interesting even after 30+ years. There is a level of innovation and
variety that is sadly lacking in modern artists. And while the
results aren’t always user-friendly, they are still highly
cerebral.

Songs such as 'Das Vodkalied', 'Rendez-Vous Dans Un
Bois' (featuring Blixa of Einstürzende Neubauten), 'Zz Walhalla',
'Destiny', and 'Voce' in particular mix everything from ebm, ambient,
industrial and minimalism in a way that is pretty hard to pin down
and classify from a modern perspective where genres have diverged and
homogenised.

In terms of production it is what it is. A
re-release cultivated from an experimental cassette tape from the
early 1980s is going to still sound of its era whether you remaster
it or not. There's no way around that. But when presented as an
artefact of an early genre still prising experimentation, innovation
and the DIY punk attitude it still sounds great.

'Throw Out
Rite' is a re-release that makes sense. For fans of early industrial
music this is the kind of release that is craved, especially on
vinyl. Pankow's legacy may have been eclipsed in recent years, but
'Throw Out Rite' shows just how integral they were to the early
industrial scene.

Wednesday, 27 January 2016

After the brilliant outing on 2014's
'False Face' God Module have returned with a brand new slice of
horror drenched electro-industrial terror. The band's latest release
'Prophecy' continues to build on the fundamental God Module sound
blending dark electro, ebm, techno, and industrial that mastermind
Jasyn Bangert has developed since the band's inception. Despite the
band's heavy release schedule over the past few years there is still
plenty of inspiration left in Bangert as he keeps up the consistency
and quality of the releases.

'Prophecy' is no exception to
the rule. In it we find intact the hard dance beats, subtle grooves,
spooky lead synths and monstrous vocals that have become synonymous
with the God Module sound. Songs such as 'Wasteland', 'Secrets',
'Endless', 'We Are Legend', 'Abduction', and 'Transform' provide the
album with a backbone of strong dance-friendly tracks that stead
toe-to-toe with the best in the band's catalogue to date. Courtney
Bangert's vocal contribution in particular to 'Abduction' lifts the
dynamic of the song to create a real standout track on the album.

The production is strong if not deviating too far from the
usual script. But there are still some little surprises in there that
really serve to enhance some songs and set them apart from the pack.
The vocals, heavily distorted as per usual, do tend to get a little
swamped in places but this isn't too much of a problem when you're
being swept along by an otherwise infectious track.

With
'Prophecy' God Module continue an impressive run of releases that
started with 2011's 'Séance'. Jasyn Bangert knows what he wants, he
knows what his fans want and he is more than happy to oblige. There
is no compromise, just the band focusing in on what sets them apart
and creating a dark and dance friendly monster in the process.

Revisiting and re-evaluating older
material is never an easy task but sometimes the benefit of hindsight
can breathe new life into things. Such is the case of Aesthetic
Perfections latest release, 'Blood Spills Not Far From The Wound'.
Originally an album released in in 2007 under the now defunct
Necessary Response moniker, the original 'Blood Spills Not Far From
The Wound' was a foray into almost futurepop territory which was at
the time the antithesis of the aggressive Aesthetic Perfection.
However with the more melodic content of recent Aesthetic Perfection
material and the inclusion of some of these tracks in live shows the
time is right to revisit the past.

The end result is a strong
blend of the two projects that blurs previous lines and adds an
injection of a more self-assured expression of song writing that has
been building in recent years. The album sees the mixes cleaned up
and the vocals re-recorded which benefits them greatly as Grave's
voice is far more confident and mature now compared to 2007, and his
production skills eclipse his earlier efforts.

Songs such as
'Forever', 'Vapor', 'For Al The Lost', 'Dying In The Worst Way',
'Elements', and 'Devotion' simply sound phenomenal as they power
through the speakers and bringing with them a new dynamic to the
Aesthetic Perfection sound. While the inclusion of the new track
'Never Enough' over the instrumental 'This Distance' adds to the
dynamic of the album.

The only place that the changes perhaps
don't work is on 'Spilling Blood' which is a shame. This was perhaps
the only example of a track not really needing too much tweaking but
the end result has left it flat compared to the original.

On
the whole the new mixes and vocal performances create a much more
dynamic and exciting record than the first time round. Graves has a
more confident voice and hi tweaks to the production have brought the
album right up to date. The result of which is a strong album that
feels at home in the Aesthetic Perfection catalogue.

It is
great to see this material, which was in danger of becoming a
footnote in Graves' career, be reclaimed and given the treatment it
deserves. Fans of the original may be a little bit prickly and
guarded in how they approach this new version, but an open mind may
find more positives than negatives, while those new to the album will
find this a comfortable development in the continued evolution of
Aesthetic Perfection.

Tuesday, 26 January 2016

Leeds' Quasimodo are tearing up the live scene in the
spiritual home of gothic rock. Since the release of their 'Liberty,
Equality, Atrocity' EP in 2013 the trio of Joel Heyes (ex-Action
Directe), David Frampton (ex-Rome Burns), and Emma Hedley (Dawn of
Elyzium/ex-Action Directe) have quickly established themselves as a
force to be reckoned with sharing the stage with a range of acts
including Last July, Zeitgeist Zero, Rhombus and Luxury Stranger.

The band's newest offering, 'Kiss Of Death' is a triple
threat of electronic tinged spiky post-punk and gothic melodrama
complete with Heyes' own witty lyrics. It is immediately evident that
the band have continued to hone and sharpen their sound well on the
stage and this translates nicely into the recorded version of the
songs.

'Kiss Of Death' hits hard and fast with an almighty
clatter of post-punk guitars and snarling vocals for a srtong and
catchy opener. While the electronic opening of 'J'accuse!' coupled
with the low-fi vocals and steady dance beat presents the band with
one of the strongest tracks in their arsenal to date. Finally the
band's sensual take on the classic “Screaming” Jay Hawkins track
'I Put A Spell On You' gives the song a definitive gothic rock
makeover.

As with the previous two releases there is a no
nonsense / no frills kind of feel to the songs here retaining that
classic post-punk / proto-goth vibe. The tracks feel dynamic and
energetic and have captured the band's live energy well.

The
EP is a strong statement from a band who are quickly establishing
their name as one to keep an eye on in both Yorkshire and beyond. But
now with two EP's and a single under their collective belt, it would
be nice to hear how they would approach a full album.

With tongue firmly
planted in cheek Byronic Sex & Exile crawl out of the
aristocratic netherworld of trad goth to drag you back to their
dilapidated opium den on a (dark) wave of steady mechanical beats,
old school guitars, synths and melancholic vocals.

'Crimes Of
Passion' is an EP dripping in nods to old school goth acts such as
Dead Can Dance, Gene Loves Jezebel, Flesh For Lulu, Rose Of
Avalanche, Rosetta Stone, Children On Stun and Love Like Blood. The
ever present drum machine beats, cheesy but atmospheric synths, and
jagged post-punk guitar lines root the songs in the 80s peak of the
gothic rock movement while the clear production and self-aware irony
running throughout 'Crimes Of Passion', 'Cruel Beauty', 'Fausthaus',
and 'Leviathan' gives it 21st century hindsight.

Despite
it's tongue-in-cheek approach the music contained within the EP is
still pretty damn good. Not a parody of gothic rock but a loving and
knowing homage. In fact if you rewound the clock 25 years a song from
this EP would easily have found its way onto any contemporary gothic
compilation album. It is music that has been done lovingly and more
importantly it has been done very well.

All the sounds are
right for that classic coming together of sounds that makes this
unmistakably trad goth. But at the same time it is mixed and produced
to a digital standard which gives it fresher and less rough sound
than many of those classic acts produced in their heyday.

'Crimes
Of Passion' is a fine exercise in old school gothic rock that can't
quite hide its knowing smile. It's the kind of work that if you were
approached by a film maker to provide for a soundtrack about the 80s
then this is what you would give them. Decadent, melancholic, classic
goth.

Friday, 22 January 2016

Mortiis is back with
his second free to download single from the forthcoming album 'The
Great Deceiver'. 'The Shining Lamp Of God' picks up where the
previous single 'Doppelgänger' left off. His own particular blend of
boisterous and dirty industrial rock that was fostered on albums such
as 'The Grudge' and 'Perfectly Defect'.

Hard guitars, frantic
beats, anguished vocals and dance-friendly synths create a nice blend
of club friendly and mosh inducing formula that recalls a hint of Wax
Trax! and Nothing records. It is a great track that confirms the
direction 'Doppelgänger' hinted so strongly at.

The remix
this time goes in a completely different direction to Wumpscut's
'Smell Of Rain' style remix of 'Doppelgänger'. Instead we get a
KMFDM level of ultra-heavy beat industrial rock where the rhythms and
guitars are pushed harder and heavier than the original. It isn't a
million miles away from the original but different enough to inject a
more metal vibe to the mix.

Again we get a nicely produced
and heavy offering from Mortiis that is still approachable and dance
friendly. It's a good combination that confirms the direction of the
album nicely and promises that this will be one of Mortiis' strongest
outings to date.

The second self-released EP
from Mexican electronic producer Ca†hedra sets out to explore the
essence of rave culture as filtered through his own unique vision.
The result is a heady mix of psychedelic electronics, thick and
sinister bass lines, and solid dance beats with a liberal sprinkling
of dark ambient atmospheres. There are nods to genres such as hip
hop, trance, acid house, industrial and witch house which give
'Doomsday' a wonderfully esoteric and yet richly familiar vibe.

Songs such as 'Agony', 'Nightwalk', 'Sudden Death', and 'Dead
Inside' provide the EP with a backbone of steady, down-tempo and
melancholic dance tracks. The songs draw on a very similar pallet of
sounds but this doesn't get repetitive in any way. Instead utilising
the same lead synth sound throughout the EP ties everything together
nicely and gives the release a unified feel. Even the remix of D3ad
Sky's 'Cult' included at the end, despite lacking that distinctive
lead still feels like a part of an album rather than something tacked
on to the end.

The EP's stand-out tracks however are 'Falling'
featuring Masha Petrova and 'Funeral Pyre' featuring Shine Brida.
Both of these utilise vocals in a way that adds a greater sense of
atmosphere to the recordings. Masha's vocals on 'Falling' are utterly
haunting and beautiful against the forceful backing'. While Shine
Brida's contribution to 'Funeral Pyre' is a darker, almost
spoken/rapped performance which emphasises the hip hop leaning of the
song and creates a much more sinister narrative.

The
production is very slick. There are some quite overtly low-fi sounds
and elements at work, but the production is still held to a high
standard and maintains a polished feel throughout. Therefore it
doesn't fall into the trap of the mix getting over saturated with
distortion that many witch house acts seem to suffer from at some
point in their releases.

If you haven't had the chance to
check out Ca†hedra, then 'Doomsday' is a great place to start. It
is a strong and concise record full of catchy leads, dark atmospheres
and addictive beats. For a project that has only been around for four
years Ca†hedra has fast become a shining example of how to do
underground electronics right.

Wednesday, 20 January 2016

2015 was a year here I immersed myself less in new releases than I had most of the preceding decade, so I'm bringing together a short list of the albums that I kept coming back to until the vibrations re-arranged my DNA. This was a year in which I binged on Bach cantatas, an exploration of Czech composer Leoš Janáček compelled by reading Haruki Murakami's novel 1Q84 and finding I could not shake the feeling that we're in 2Q15, classic and more underground funk and a year-end orgy of wallowing in records and live video of The Damned. What follows are the releases that marked the releases that marked points of coming up for air and a waking up to the musical present amid the musical gluttony of which I was guilty.

The Ancients – 'Mind'

More than two decades after their debut album Fred Schreck & Co. return with a varied and beautifully produced followup. I found this out only after I heard their entry in the superb For The Bats III compilation. Upon finding their track I had to go find them online an exercise I had tried before, to no avail. This album would sit confortably next to the young bands a few years back who were plowing the post-punk furrow while courting the fashionable and steering clear of goth circles. The Ancients have better choruses than any of them, though. I never thought there would be more to come from this band, so this feels like getting an extra unexpected gift.

Killing Joke – 'Pylon'

Fanboy alert: any year in which we get a new Killing Joke release is means they have a place in my year-end roundup. The sound is a monstrous and aggressive thing roaring out across the charred landscape of the omnipresent pan-Atlantic military/industrial/surveillance/prison empire. Verily the soundtrack for staring down the billion eyes of the panopticon. Post-modern paranoia no a step closer to Anonymous than theories cribbed from Alex Jones (Fema Camps)as we found on MMXII. Geordie's guitar is an orchestral tour de force throughout, and enhanced with orchestration on New Jerusalem, the effect is glorious. Think tanks and the corporate propaganda machine aims to make us feel powerless, but it's impossible to give in to despair with Killing Joke raging the catalogue of their crimes and subterfuge at us. This is the sound of the unbreakable outsider. As the comliant middle manager and bourgeoisie is immolated, the outsider is most of humanity.

Attrition – 'Millions Of The Mouthless Dead'

The teaming teaming up of two such immense talents as Martin Bowes and Anni Hogan can only raise expectations to cosmic heights. This is not a product, this is a work of art comparable to Picasso's Guernica. We encounter much dark music, but rarely does a work take us to such dark places and express the horror of a human finding himself standing in the path of unimaginable destruction and carnage. The mouthless dead are given voice and they speak with humanity and eloquence to the heart of the listener. The listener is left feeling a heartrending compassion for those who lived through the war while being overwhelmed by the harrowing and evocative beauty of the music. Contained in the tracks of Millions Of The Mouthless Dead are by far the most intense and stunning pieces of sonic art it was my privilege to experience in 2015.

Tech N9ne – 'Special Effects'

There are classical elements weaving in and out of the beats as hard and raging vocals, flavored more like an infernal chamber choir than the cinematic tendencies of RZA. Special Effects is another in a string of albums from Tech N9ne that shows immense growth, standing as a testimony of an artist's dedication to his art. There's nothing in mainstream hiphop that can approach this. Thois album may also be the most gothic thing I heard all year without being horrorcore. Where the lyrics blend the defiant stance of a survivor with frank exploration of personal pain and frailty is where this album is most powerful in its expression.

Tuesday, 19 January 2016

Kent
electro-industrial rockers Spawn Of Psychosis are not taking any
prisoners on their latest album ,Ministry Of Transition'. Taking
their punk meets industrial rock formula with its nods to the likes
of Dope Stars Inc. and KMFDM the new album is packed full of big
beats, hard riffs and chant-a-long vocals. There is a solid
progression from their earlier works that is evident not only in the
quality of the compositions but also in the quality of the recording.
This is the album the band have always been threatening to make and
now that it's here they are intent on beating you round the head with
it.

Songs such as 'Martyr', 'Capitalist Courage', 'Femme
Fatale', and 'Digital Degenerate' tap into the frenetic digital
hardcore influenced industrial rock that the likes of Be My Enemy
have been successful with. But the band add an almost drum 'n' bass
feel reminiscent of early Shellshock which serves to further elevate
their sound. While tracks such as 'The Reason', 'Ministry Of
Transition', 'Purge Hate' and 'The Damage' flit between slower
sludgier industrial rock, and more experimental leanings to give the
album much more depth. However it is the album's ten-minute closing
track that shows off the band's true skill. Starting with a
discernibly more stripped back and daring new wave sound that evokes
early Killing Joke it slowly mutates into a harder hitting metal
sound that keeps the Killing Joke vibe intact but sounds bold and
uniquely their own. It's a strong and clear parting shot that
promises a hell of a lot more to come.

The production has
improved greatly from previous releases and the instrumentation and
vocals sound much more distinct and well mixed. There are still
occasions when things sound a little saturated, however the pluses
easily outweigh the minuses and the album is stronger for the changes
they continue to make.

Spawn Of Psychosis have found a damn
good balance to their sound. It has plenty of variety and
experimentation, but not at the cost of a linear unifying vision or
quality. It is evident the band's hard work and dedication is paying
off where it matters, in the quality of their work. Therefore
'Ministry Of Transition' could and should represent a turning point
for the band that will see their status elevated further in the
scene.

With a name like Viet Bong and an
EP called 'Total Doomedelic Freakout' there is a certain level of
expectation that this Leeds based project will deliver some really
nasty psychedelic doom metal. And that's exactly what you get. The EP
is an official bootleg so it isn't great quality, but it is a damn
gritty and solid expression of stripped-back doom metal with a strong
dose of 60s garage rock thrown in for good measure with a nice live
feel to it.

With only drums and guitar in the mix you'd be
forgiven for assuming the duo have sacrificed any power or bottom end
to their sound. But they haven't. Thundering, almost tribal rhythms
meet walls of distorted guitars that brings to mind Ron Asheton of
The Stooges playing through a lysergic nightmare before being dragged
to hell through his own kneecaps. Throw in some disjointed horror and
a lot of tempo changes and you have the kind of demonic freakout that
would give Kenneth Anger a satanic stiffie.

Across the four
songs 'Black Magic', 'Death Mass', 'Rising Son', and 'Requiem For The
Devil' the duo keep things simple but interesting with solid drum
grooves and addictive guitar riffs powering through each track,
varying the tempos and the attack as they see fit.

As
mentioned before the EP is a rough bootleg with a very live feel to
it, but that doesn't detract from it in anyway. In fact it gives it a
strange allure. As though this is some long lost and recently
uncovered treasure from a band that people should have rightly heard
of.

The EP shows a hell of a lot of promise with an
accessible psychedelic sound, strong riffs and groovy drums. The
sound could maybe do with being underpinned with some thick bass, and
it would be interesting to hear one or two of these compositions with
vocals to see what dimension that would give them. But even in this
stripped-back and minimalist form there is plenty for doom fans to
get their teeth into. Hopefully a longer and clearer recording will
appear before too long.

Monday, 18 January 2016

Unoccupied, a dressing room is just a big room, or a big room holding many smaller, half-closed rooms. A set of counters, mirrors and lots of strategically-placed lights, along with chairs and coat racks, set the tone for its purpose. In a dressing room, you will dress down, and dress up -and dress down again, and back up, into the many shapes of your Self.

A dressing room is a place of transformation, and will become as lively as the people who will come into it, and turn their Everyday Selves (or in my case last night, turn their Everyday-Montreal-Winter-Selves) into their Stage Selves, their Show Selves, their Passion Selves. Their True Selves.

And so, when put together in a dressing room in 2016, a group of artists performing in a New Style Vaudeville cabaret will turn the said-dressing room into a place of traditions, rituals and secrets, and a place of focus, rehearsals and the shaping of stories. People, half-dressed and half made-up, will drop in and out of conversations as often as they'll drop in and out of rooms, and it is as common to speak of sage and mythology as it is to speak of glitter and online crowdfunding campaigns.

The day before performing for the very first time in a Vaudeville-inspired cabaret, I wondered of many things. I wondered of the experience of the dressing room, but mostly, I wondered about the Art of Vaudeville.

When looking at its history, Vaudeville comes across as this open form of entertainment, where any talented, well-rehearsed and above all original performance artist could see a way of presenting his or her act to the world. The glory years of Vaudeville were seemingly the 1890s, and its decline began in the early 1910s with the rise of cinema, along with its new standards of beauty, its dictation of what culture should be, and what it should be represented by. Soon enough, the culture of modern society would be taken over by the imperialism of Hollywood, thus losing every sense of break-through authenticity and social reflection.
On the surface, of course.
On the clearly visible, glimpse-of-the-eye surface, when looking at the forest and not the trees.

One of the things about humans is resilience, for if some of us or even just one of us believes in something, we will keep on standing, fighting and living for what we believe in, and eventually associate with like-minded folks, creating a solid and ever-expanding community that will keep a flame strong. And then, one of the things about life is balance, and therefore every surface has its depth, and every cultural movement has its counter-attack. In other words, pop (tart) culture could not be defined as it is if there was no alternative culture.

Vaudeville thus never truly died, and indeed has been experiencing a beautiful, refreshing revival since the early 2000s. This revival stands as an evolution, not a mimic, for the means used to both produce the show, and promote it, along with the messages and stories behind the performances, are very much in tune with the times. Computers are used to create and generate lighting effects and playlists from music downloaded on USB key, magicians tell tales of gamblers playing the family's income and savings for a TV in a traditional Tarot card and coins trick, and burlesque performers of every size, shape and gender (or lack-of) are likely to strip to the sounds of dubstep.

However, the beauty of its underground form remains. In true, alternative culture fashion, these kinds of New Vaudeville shows will be presented in smaller, often second-floor or basement venues and cabarets, and will only be advertized on social media, within a very solid, supportive and tight-knit community of performers and aficionados of every possible kind of alternative art form out there. And of course, there will not be any kind of interest in funding available from the government, or advertisement by major labels or production companies. These shows are organized and funded by the artists themselves, who will more often than not have one or many jobs on the side in order to be able to keep doing what they're doing.

And the main reason why the beauty of its underground form remains is because Vaudeville never truly died, for generations upon generations of so-called side-show acts, circus performers, burlesque dancers, occult magicians, unfathomable drag kings and queens, and uncensorable singer-songwriters and actors have continuously been opening up to each other, sharing in inspiration, feeding off each other's art. Exchanges like these are usually witnessed in dressing rooms.

After all, we owe it to each other to keep the traditions of the alternative arts strong -starting with the Arts themselves.

So what makes us alternative artists hold on to these traditional alternative arts?
Possibly, if not absolutely and irrevocably, the mere sight or sound of anything related to pop-tart mass-media culture. For every movement has a counter-movement, and every blonde pop star will have an industrial-dark cabaret raven-haired nemesis. Every "proper" form of art has its dirty side, and its dirty side is usually where its core lies.

And then maybe, just maybe, it's not so much that we, the artists, are the ones holding onto the art form. Maybe, just maybe, it's the art forms that are carefully selecting, and holding on to us -the Us, You or Me that you're likely to meet in a dressing room.

Friday, 15 January 2016

Seattle in Washington state USA has
produced some very interesting bands over the years, and new upstarts
Fragile Weapons look set to join that long list. The band blend dark
rock, jazz, metal and gypsy elements to create a creepy avant garde
sound reminiscent of the likes of Russian Circles and Dirty Three.
Thick distorted basslines, piercing violin leads, doomy drumming, and
haunting vocals come together in a wonderfully unique way.

The
band's first release 'Fugue State' is a bold and atmospheric
statement of intent that is somewhere between rock and a film score.
Songs such as 'Intimate Enemy', 'Terminator', 'Lullaby', 'Godzilla'
and 'Flight' convey the band's strongest expressions of their formula
with dark and dreamy atmospheres enticing the listener deeper into
the compositions.

The album is mainly instrumental, but it
holds the attention well. The trio are adept at expressive
performance and it is captured here very nicely. There is an
intimate, live feel to this recording that is very organic and almost
improvisational, as though it has been captured during a gig, but
retaining the polish of a studio recording.

'Fugue State' is
a very promising first step from this band. For those into avant
garde rock, dark folk, and haunting instrumental music this is
definitely worth checking out. It will be interesting to see how they
develop their sound on future releases. In the meantime, someone
please give them a horror film to score.

Wednesday, 13 January 2016

It's time once again to
look back at the releases of the previous year and try to decide what
were the best releases.

This year Intravenous Magazine
scribes Dokka, Joel Heyes, End: the DJ, P. Emerson Williams, and
Dominic Lynch, as well as myself count down our personal favourites
individually over the course of the month. And today we kick things
off with my top 20 albums and 10 EPs (in no particular order) that
got me hot under the collar last year.

Albums:

Caustic
– 'Industrial Music'

If 'The Golden Vagina Of Fame
And Profit' was Matt Fanale's club album, and 'The Man Who Couldn't
Stop' was his grand concept album, then 'Industrial Music' is a
return to his roots. After another successful
Kickstarter campaign, the first full-length Caustic album in three
years – and the début on new label Negative Gain Productions –
sees Fanale making a stand and embracing the industrial tag.
Returning to the big distorted beats, crunchy synths and aggressive
vocals that characterised his Crunch Pod years, but adding the skill
and experience that made 'The Golden Vagina...' and 'The Man Who
Couldn't Stop' such must have albums. With this album Fanale
continues to take risks and they continue to pay off for him. It is
not an album that takes any steps backwards. It continues to push
forward and in doing so reclaiming industrial music as a tag to be
proud of.

Beauty
Queen Autopsy – 'Lotharia'

The uniting of Unwoman's Erica
Mulkey and Caustic's Matt Fanale promised to be something special
from the very beginning. Combining simple mechanical post-punk beats,
minimalistic synthpop electronics, and prominently placing Mulkey's
seductive post-grunge vocals high in the mix Beauty Queen Autopsy
present a deceptively straight-forward but undeniably infectious
formula that is both intimate and dance-friendly. The album has a
wonderfully gritty 90s sound to it in so much as it evokes, the best
elements of the Nothing Records, Wax Trax! and Warp Records
catalogues of the era but maintains a modern dark sound that is both
dark and strangely pop-friendly. 'Lotharia' is quite simply a
wonderfully strong full-length début from the duo. This a subtle,
but varied album that leaves you hungry for more. If this offering is
anything to go by, Beauty Queen Autopsy are going to be a name to
watch over the next few years as they can only grow from here.

iVardensphere – 'Fable'

iVardensphere are one
of those acts that seem to just get better with every release. Their
last full-length studio outing, 2013's 'The Methuselah Tree', was a
high-watermark for their tribal infused rhythmic industrial formula.
The band proved they could be experimental, cinematic and club
friendly all in the same breath and set the bar high for this year's
follow-up 'Fable'. It is immediately obvious though from the stunning
opening of 'Million Year Echo' that the band are continuing to push
themselves. The band's global rhythms are reflected in a cinematic
style of production that even with such heavily layered tracks they
sound beautiful and expansive. The lessons the band learned in
creating 'The Methuselah Tree' have been built upon. They've not
rested on their laurels and have written an absolute stunner of an
album that in its diversity still remains cohesive and focussed. If
their previous album was a game changer for the band, then 'Fable'
should cement their spot as one of the most interesting and unique
bands at the top of the industrial pile.

Chelsea Wolfe –
'Abyss'

Chelsea Wolfe's blend of shoegaze, goth, doom and
neofolk infused art rock has quite rightly seen her quickly amass a
strong following. Thanks to albums like 'Apokalypsis' and 'Pain Is
Beauty' she has a rich palette of esoteric songs that are utterly
bewitching, but with her fifth full-length album, 'Abyss' she looks
to go a step further. Wolfe has always incorporated elements of black
and doom metal on her albums, but 'Abyss' goes much further than
previous albums dared. The end result is a bleak and nightmarish
journey permeated by blissful melodies and crushing atmospheres. The
end result is her darkest and most honest album to date, one that
pushes the boundaries of her songwriting further than ever before and
reaps the rewards because of it. Chelsea Wolfe may have been a rising
star in alternative rock, but 'Abyss' is an album that will
definitely establish her as a creative force for years to come.

Paradise Lost - 'The Plague Within'

'The Plague
Within' is one of Paradise Lost's heaviest offerings to date harking
back to the ground-breaking second album 'Gothic'. Nick Holmes' death
vocals are front and centre backed-up by a bludgeoning doom metal
barrage tinged with gothic symphonic elements. It's the kind of album
that long-time fans will be yearning for. The production is cold and
bleak, recalling the likes of Ulver and Swallow The Sun. It's the
band at their melancholic best brought out by the capable hands of
producer Jaime Gomez Arellano. A partnership that will hopefully
continue onto future releases. 'The Plague Within' is a magnum opus
for the band. Uniting 25 years of melancholic evolution while pushing
their sound forward once more, they exemplify their own past and
future. The album is heavy, dark and full of doom metal influences
executed with the skill and attention to detail that you would expect
from a veteran band of their status. The album is a proud declaration
that signs acknowledges their roots but gazes towards the horizon.

Swallow The Sun – 'Songs From The North I, II &
III'

Since the release of their riff-laden début 'The
Morning Never Came' Finland's Swallow The Sun have been a shining
beacon in the ever gloomy world of doom metal. Blending death doom
with funeral and ambient elements and liberally sprinkling with
memorable riffs they have quickly built an enviable discography. The
band's newest album is an almighty slab of everything to love about
their style. Split into three albums 'Songs From The North' takes the
listener through their accessible death doom on the first album.
Brings us through a head mix of acoustic folk and doom on the second
album. And finally unleashes monolithic slabs of pure funeral despair
on the final album. The band have taken their time, indulged their
whims, and made a gamble that has ultimately paid off in a big way.
This album is the definitive Swallow The Sun statement. It feels 100%
complete as an album as well as a perfect distillation of what is
truly great about doom metal in general. There is a lot to process
but it is one of those rare albums you can truly loose yourself
in.

Neurotech – 'Stigma'

With two great albums out
last year it was a tough choice to choose between them but in the end
the more accessible 'Stigma' won out. The Ljubljana based
multi-instrumentalist Wulf, has been crafting strong albums that
utilise elements of future pop, new age music, symphonic electronics
and metal. The latest release, 'Stigma', marks the first full-length
studio album since 2011's raucous 'The Antagonist' and it aims to
make people sit up and take notice. Recalling in particular the work
of Peter Tagtgren with his projects Pain, and to a certain extent
Lindemann, Wulf presents a highly polished individualistic project.
The production is pretty good with a nice fresh and modern sound to
the whole of the album. With each track getting a solid mix down.
Neurotech have created another strong album that is dance friendly
enough for club play, but has the right amount of heaviness to give
it a broader appeal amongst metal fans.

Killing Joke –
'Pylon'

Picking up from the band's previous two outing
('Absolute Dissent' and 'MMXII') Killing Joke's latest studio album
'Pylon' is another uncompromising blend of industrial electronics,
post-punk venom and metal riffs that will not fail to satisfy
long-time fans of the band. In the 35 years since the band's
eponymous début, music trends have come and gone, politics has come
round full circle, technology is choking humanity and a dystopian
malaise has set in. It's no wonder then that the anarchic and
apocalyptic fire of Killing Joke is just as relevant and needed as it
has ever been. The new album (number fifteen and counting!) recalls
not only the band's most recent works 'Absolute Dissent', 'MMXII' and
'Hosannas From The Basement Of Hell' etc, but it also looks back to
the likes of classics such as 'Pandemonium' and 'Democracy' for its
musical and lyrical inspiration. 'Pylon' shows that after 35 years
Killing Joke still have a lot to say and they know how to grab our
attention. The band sound stronger and slicker than ever – the song
writing is punch, the musicianship is solid throughout, and Jaz
Coleman's vocals are sounding powerful and full of conviction. This
should be an easy album for both long-time and new fans to get into
as it showcases both the band's melodic and heavy sides almost
equally within each song. 'Pylon' continues the band's latest and
perhaps greatest run of album and promises much more to come.

Marilyn Manson – 'The Pale Emperor'

At one time
it seemed as though Marilyn Manson, the self-proclaimed “God Of
Fuck” could do no wrong. The former Brian Warner began his
transformation into America's worst nightmare in the Florida
underground rock scene in the early 90's before getting signed to
Trent Reznor's Nothing Records imprint and releasing a slew of
critically and commercially acclaimed albums including 'Antichrist
Superstar', 'Mechanical Animals', Holy Wood' and 'The Golden Age Of
Grotesque'. Fast-forward to 2007's 'Eat Me Drink Me' and 2009's 'The
High End Of Low' and Manson appeared to have lost the spark that had
won him legions of fans. And indeed the man himself seemed to be on
course for his own public breakdown. We then pick up the story with
the latest chapter 'The Pale Emperor', which is principally a
collaboration with producer Tyler Bates rather than with his
long-time musical confidant Twiggy Ramirez. Musically the album
carries on the spikey post-punk characteristics of its predecessor
and swamps it in nods to the likes of Nick Cave, Bauhaus, David Bowie
and Tom Waits as well as some cinematic atmosphere for a “black and
blues” slant on the Manson sound. As with 'Born Villain', 'The Pale
Emperor' is good as an album and sees Manson continue the conceptual
momentum as he draws the listener into his Faustian tale.

Zardonic
– 'Antihero'

Following on from the thunderous 'For Justice'
single that went off like a bomb earlier this year, was there ever
any doubt that Zardonic's next album was going to be one to watch out
for? His unique blend of bass-heavy electronic dance music genres
melded with extreme metal has lit a fire under the edm scene. In the
ten years since its inception, Zardonic has become one of the hottest
DJ acts in the world today with not only his original tracks being
released to acclaim, but also his remixing skills in demand from a
range of notable artists. With a certain amount of anticipation
behind it, 'Antihero' is an album that needs to hit hard, fast and
leave a lasting impression. And that is exactly what it does. Drum
'n' bass, glitch hop, electro, darkstep, industrial, breakbeat, and
hardcore techno collide head-on with extreme metal across eleven
original tracks that will appeal to fans of Cubanate, Be My Enemy,
Atari Teenage Riot, The Berzerker and the latest work from
Combichrist. If you haven’t encountered Zardonic before, or are
approaching his work with any degree of cynicism, then this should
convert you. With 'Antihero' Zardonic has truly found his sound...
and it kicks serious ass.

Grave
Pleasures – 'Dreamcrash'

Under the moniker of Beastmilk,
the band that is now Grave Pleasures instantly seared itself into the
rock landscape with a stunning EP release in 'Use Your Deluge' and
the follow-up full-length debut 'Climax' Blending post-punk,
proto-goth / death rock, and elements of black and doom metal giving
themselves a lot to live up to. The band then had a re-shuffle,
changed their name, signed a new record deal and have hit even harder
with their latest output 'Dreamcrash'. It's arguable as to whether is
is in essence a debut or a sophomore album, but that minor
complication is by-the-by. 'Dreamcrash' consolidates all the effort
the band made under the Beastmilk moniker, expands on it, and focuses
its gaze on the horizon. Icy cold atmospheres, sinister jangling
guitars, tribal drums, palpitating bass lines, and the distinctive
emotional evocations of vocalist Mat “Kvohst” McNerney come
together in such a perfect way. There is nothing forced or contrived.
'Dreamcrash' is an album that has successfully surpassed
expectations. Any worries about the line up change and subsequent
re-branding of the band are instantly dispelled and all that is left
behind is some of the best gothic-tinged post-punk released in years.

With The Dead – 'With The Dead'

Given the past
relationship between Rise Above Records (owned by former Cathedral
vocalist Lee Dorrian), and Electric Wizard (whose founding rhythm
section comprised of Tim Bagshaw and Mark Greening) having been a
tempestuous one, the coming together of individual members of new
doom metal trio With The Dead seemed like one of those “when hell
freezes over” prospects. But nevertheless it has come to pass and
the end result is a heavy dose of real doom that sees the distinctive
voice of Dorrian set to the rhythmic talents that gave us
'Dopethrone'. With such accomplished work in every member's
respective discographies, it is evident that With The Dead is a band
that has nothing to prove and is free from the shackles of everything
that has come before it. Yet this isn't about resting on their
laurels. With The Dead want to craft their own identity and have one
hell of an album with to do it. The album is grim, heavy, eerie and
crushingly brilliant. This is a stunning début from three veterans
of the doom genre that acknowledges their past work, but seriously
amps it up. The eerie atmospheres, use of samples, and that ever
present pressure from the guitars is a simple but wonderfully
effective combination that has set the bar just that little bit
higher. Hopefully With The Dead will become a mainstay of the doom
genre for years to come.

Mr Kitty – 'Fragments'

Forest Carney AKA Mr Kitty returns with his fifth full-length
studio album and the first since the conclusion of his acclaimed
“Dark Youth” quadrillogy that encompassed 'Death', 'Eternity',
'Life', and 'Time'. The new album 'Fragments' sees a much more open
and vulnerable side to Carney's song writing coming through.
Musically the icy synthpop and trippy witch house elements that
characterised the first four albums remains at the core of the album,
but with an air of stark and clinical futurism that recalls turn of
the millennium ebm. The album is a deeply satisfying of melodic
synthesizers, throbbing bass, steady dance beats and soaring vocals
drenched in delay. It feels delicate and brittle, but altogether more
hopeful and optimistic than his previous albums. This is another
great and solid album from Mr Kitty that heads in new directions with
ease. It is more emotional, measured, and instilled with a strong
sense of purpose that sees him firmly close the door on the
quadrillogy and look ahead to a very bright future.

Primitive
Race – 'Primitive Race'
There are super groups and then there
is Primitive Race. Boasting members of acts such as Pop Will Eat
Itself, Peter Murphy, <PIG>, KMFDM, Ministry, Tricky, Nitzer
Ebb, Combichrist and others in its ranks the group headed by Chris
Kniker evoke everything that is great about industrial rocks past,
present and future. The sound is hard to pin down though. It is a
hard mix of industrial rock and ebm, but here are so many different
flavours that bubble to the surface courtesy of the revolving line up
of musicians and vocalists on every track. It's a veritable
smorgasbord of world class talent coming together to do what they do
best. Primitive race may be a new moniker, but it's members are some
of the most respected names associated with industrial, ebm, and
gothic music of the last 30 years. As such, this first full-length
outing feels fully formed and actualised without any straining to
find a niche. Fans of classic acts such as <PIG>, KMFDM, Skinny
Puppy, Nitzer Ebb, Ministry, and Nine Inch Nails will feel right at
home with this. While those just taking their first steps into the
scene will find this album sits comfortably on the shelf next to
modern acts like 3Teeth, Youth Code, Caustic, and Project F.

Cocksure – 'Corporate_Sting'

One year on from
their full-length début album, the duo of Chris Connelly and Jason
Novak return with their sophomore outing under the Cocksure moniker.
The band's second album 'Corporate_Sting' sees the duo continue the
big beat orientated industrial mayhem of their début across ten
brand new tracks that evoke they 90s heyday of the Wax Trax! sound.
Hard gritty beats, throbbing bass, heavily distorted vocals, and an
anything goes attitude come together to blend old school sounds with
modern execution. And once again it just works so damn well. There's
certainly nothing corporate about this album, but there is plenty of
sting to it. 'Corporate_Sting' is another great release from
Cocksure, and fans of both old school acts as well as modern bands
such as 3Teeth, Project F, Öhm, and Youth Code will definitely find
plenty to enjoy here. Connelly and Novak's musical partnership is
fast producing some of the strongest and most memorable material of
their respective careers, and long may it continue.

Lindemann
– 'Skills & Pills'

The coming together of the musical
maestro behind Hypocrisy and Pain, and the vocalist
and lyricist of Rammstein was always going to yield interesting
results. Peter Tägtgren's blend of addictive industrial metal that
he perfected over the years under the Pain moniker melds perfectly
with the twisted humour of Till Lindemann who now treats, or
subjects, his audience (depending on your position) to every filthy
lyric in English. With Rammstein Till has used English sparingly,
usually for comedic effect in songs such as 'America' and 'Pussy',
but with his Lindemann project he drops the veil for the non-German
speaking world to finally hear. Musically the album calls heavily on
Pain albums such as 'Psalms Of Extinction' and 'Cynic Paradise' with
its hard, memorable riffs and industrial meets symphonic synthpop
electronics. All the while Till Lindemann's distinctive vocals power
through the tracks to whip up huge sing-a-long choruses. It's a
combination that simply works. Hardened Rammstein and Pain fans
should find plenty here to get their teeth into, though casual
listeners may be turned off by Till's explicit use of English, or
perhaps the strong musical resemblance to Pain rather than something
drastically different. However, that's not really the point of the
album. It's dirty, it's fun and it's most certainly memorable.

Cold In Berlin – 'The Comfort Of Loss & Dust'

Cold In Berlin have become one of the most respectable and
genuinely intriguing bands in the UK underground. The band's first
two albums were stunning exercises in gritty and arty gothic tinged
post punk. But the band's third album sees perhaps the biggest step
in their sonic evolution thus far as 'The Comfort Of Loss & Dust'
slaps a heavy dose of stoner rock on top of the bands cool gothic
sounds. The fusion is a slice of sheer bliss that recalls the black
metal tinged post punk of Beastmilk, and the avant garde doom rock of
Chelsea Wolfe, as well as occult rock bands such as Jex Thoth and
Subrosa. The Siouxsie Sioux meets Lene Lovich with a liberal sprinkle
of Grace Slick style vocals of Maya cut through the cacophony of fuzz
to preserve the bands gothic menace. The bass and guitar switch
between doom, stoner, and punk riffs while the drums thunder above to
create a thick and foreboding atmosphere of melancholia. The Comfort
Of Loss & Dust' is a revelation. They've taken a gamble and it
has definitely paid off for them. It mangles and distorts genres into
a captivating new beast. One that will still appeal to their
long-time fans but will open new doors for them with an appeal that
fans of occult rock, stoner rock and doom will find hard to resist.

Near Earth Orbit – 'The End Of All Existence'

Artaud
Seth (Merciful Nuns, Lutherion, Garden Of Delight) teams up with
Ashley Dayour (Whispers In the Shadows, L'Âme Immortelle, Veneno
para las Hadas) to usher in the end of days. The duo's new project
Near Earth Orbit is an apocalyptic exercise in atmospheric gothic
rock fixated on the threat of destruction from space. The album is
propelled by Fields Of The Nephilim style bass lines, coupled with
near ritualistic beats, washes of droning guitars, and dark ambient
synthesizers which frame Seth's shamanistic vocal style. There are
nods to the likes of Fields Of The Nephilim, Pink Floyd, Tiamat,
Tool, and the duo's own expansive back catalogues. It's a seminal and
wholly original sound that is both disturbing and utterly compelling.
'End Of All Existence' is less of an album than an audio disaster
movie. Such is the scope and excellence of the execution. Seth and
Dayour have crafted a fine and original work that while following the
path laid out by Seth's own recent work with Merciful Nuns, still
manages to create a unique and effective identity of its own. The
songs are catchy and fans of both artists will easily be able to pick
up this album and engage with it. It's a promising first move from a
partnership that looks set to pay off time and time again.

Sidewalks And Skeletons – 'White Light'

Love it
or loath it, witch house is here to stay and so is Sidewalks And
Skeletons, AKA Bradford's Jake Lee who, on his latest release under
the moniker continues to experiment and push the definition of the
genre. 'White Light', the follow-up to last year's 'Future Ghosts',
incorporates the classic trappings of witch house but pushes beyond
them as well and even goes as far to infuse metal elements into some
of the songs. It is an album that is set on expanding the palette of
its creator and the experimental scope of the genre. 'White Light' is
hands down the strongest Sidewalks And Skeletons release to date, and
perhaps one of the best witch house-related releases of the year. The
songs are aiming for another level and more often than not reach it.
It has aspirations to stay true to its roots but at the same time
redefine what they are and can encompass. This is an album that
should hopefully capture a lot of people's attention, and quite
rightly so.

Chant – 'Brave New Apocalypse'

Chant,
AKA Bradley Bills, sounds like one of those projects that has been
around forever... despite only being on album number three. Chant's
high profile North American and European tour supports with the likes
of KMFDM and Die Krupps has seen Bills spread his tribal infused
industrial sound far and wide and gained an international following
in the process. Drawing on influences such as Nitzer Ebb, Nine Inch
Nails, Killing Joke, and KMFDM there is something classic about his
sonic formula that creates and instant familiarity. The third album
from Chant, 'Brave New Apocalypse' sees Bills further refine his
rhythmic industrial manifesto and brings in a fresh take on the
classic industrial rock style of the early 1990s. 'Brave New
Apocalypse' is a great stylistic turn by Bills and should play well
to new fans looking for something to rock out to, as well as older
fans who will feel a pang of nostalgia for the days in which
industrial rock gained some mainstream traction. It is full of
potential club-friendly hits and will ensure a healthy live
repertoire for future live shows. But most importantly it should
continues to see Bradley Bills song writing talents strengthen and
his position solidify as a name to be reckoned with.

EPs:

Wik▲n – 'Nightfall'

Sheffield's Wik▲n may be
flying the flag for the witch house scene, but there is so much more
to their sound than that. Their newest offering (their eighth EP
since 2010) 'Nightfall' includes ambient, drone, noise, dark electro,
and even neofolk as well as drag and witch house to create haunting
soundscapes and experimental grooves. But no matter which direction
they choose to go, the songs remain epic in their scope and rarely
drop below seven minutes in length. Wik▲n may not be a common name
in the UK underground scene but they should be. 'Nightfall' is a
mature, engrossing and deeply fulfilling listening experience. The
band prove they can turn their hand to anything and everything here
and still make it sound like a cohesive whole. This is definitely an
act to keep your eye on.

Garek – 'Take the King Vol. 1'

You may have seen the videos for the incendiary slices of
pop-industrial that Garek has released prior to his début EP in the
form of 'Cavity', 'Save The Queen' and his cover of Katy Perry's
'E.T'. If you haven't had the pleasure yet then you've been missing
out. Garek presents a satisfying blend of electro mixed with
industrial rock and given a radio-friendly pop veneer that recalls
the classic years of Marilyn Manson, Orgy, Nine Inch Nails, and
recent acts such as Aesthetic Perfection. Throw in a glamorous
presentation and a genuinely artistic idiom and you have a winning
formula. The EP is brief clocking in a t just over twelve minutes in
length and refreshingly doesn’t include any tacked-on remixes,
instead keeping to the short but complete statement of the four
tracks. But despite it's length it hits its mark with ease. Garek has
a great sound that won't fail to inspire a big following and perhaps
even some cross-over success down the line.

(((O))) –
'We Hate You'

Despite only emerging in 2012 (((O))), AKA
Nikita Vasilyev has already developed a loyal following thanks to
releases such as 'Black EP' and 'Motherland'. This year
the Belarus-based artist returns with the new three-track EP,
'We Hate You'. Taking its cues from LaVey and Lovecraft it's dark
experimental electronics and witch house embellishments make it one
of the few underground electronic bands that can be happily summed up
as avant garde while keeping a straight face. If you haven't had the
pleasure of listening to (((O))) then 'We Hate You' is a good
starting point. It's accessible, moody and psychedelic electronic
that fans of dark electro will be able to appreciate. It would have
been nicer to have a bit of a longer running time. But the three
tracks feel like a complete statement, so it is by no means
disappointing. However it does build up the anticipation that could
be quenched by another full-length release.

The
Gothsicles – 'The Nyarlat Hot EP'

After Brian Graupner and
his band of reprobates embark on their most club-friendly and
well-rounded outing to date with the delightfully mad 'Squid Icarus',
The Gothsicles returned with a follow-up EP in the form of 'The
Nyarlat Hot EP'. Picking up where they left off the band with three
new songs and some bonus remixes to extend their club appeal a little
further. The classic Gothsicle elements are all present such as
Graupner's bat-shit crazy vocals, the 8-bit leads, and of course more
nerd culture thrown under the microscope and lovingly mocked. Throw
in some great remixes from the likes of Ballpeen, Projekt
F and God Module and this is becomes and addictive little
taste of where the band are at. The EP may be a humble one and not
exactly push new ground in it's own right, but it is a nonetheless
zany and delightful appendage to the main album that still has some
great dance floor moments to enjoy.

Monomorte
– 'The Three Mothers'

Danny Ryder AKA, Monomorte, returns
with a new EP sure to appeal to fans of witch house. The
Liverpool-based producer has crafted some wonderfully unique releases
in recent years including 'Ad Extremvm', 'Coven XXIII', and
'Douosvavvm' which have explored genres such as chillwave, ambient,
old school house, trip hop and industrial to create a take on the
witch house sound that is accessible, enjoyable and most importantly
high quality music. 'The Three Mothers' is a very, very strong
release from Ryder. Its a shame it only features three tracks as it
leaves you hungry for more. It shows Ryder continueing to develop and
improve his take on the witch house sound, and as a result raise the
quality for others to aspire to. Let's hope a full-length release is
on the cards soon.

Psy'Aviah – 'Never Look Back' /
Words' EP

Belgium's Psy'Aviah AKA multi-instrumentalist and
producer Yves Schelpe, have been providing an eclectic injection into
the electronic scene for a number of years. Blending elements of trip
hop, ambient, pop, rock, techno, electroclash, and ebm Schelep and
his now revolving door of talented vocalists the music of Psy'Aviah
has always been something that is hard to ignore. Now one year on
after the last full-length outing on 'The Xenogamous Endeavour'
Schelpe returns with the 'Never Look Back' / 'Words' EP as a
precursor to the next Psy'Aviah album. With the two lead tracks
Schelpe continues to break down genre conventions injecting 'Never
Look Back', which features the vocal talents of Ellia Bisker of New
York's Sweet Soubrette, with a heavily trip-hop saturated direction
while keeping it's fresh electro framework. While 'Words' , featuring
J Ari, adds a couple of big helpings of reggae and Mowtown to
Schelpe's electronic formula. This EP bodes well for the forthcoming
album. If it continues down a similar line of eclectic genre blending
and emotion-tugging melodies, then the next full-length Psy'Aviah
album could be their best yet.

V▲LH▲LL –
'Vi††ΞЯS†ЯåK'

Stockholm's V▲LH▲LL are an
undeniably impressive act. Formed in 2012 they have fast become one
of the most impressive underground electronic acts around today
despite only having a few releases to their name. Their début
full-length release last year on Artoffact Records, 'Leaning On
Shadows' was a triumphant blend of atmospheric songwriting
incorporating elements of witch house, neofolk, dark ambient and
industrial. Just in time for Halloween comes the band's new single
'Vi††ΞЯS†ЯåK' which features two tracks of dissonant dark
ambiance to send shivers down your spine. This is another great
release from V▲LH▲LL that continues to show off their skill and
diversity. They seamlessly span experimental and more accessible
genres and can craft exquisitely haunting atmospheres with ease.
'Vi††ΞЯS†ЯåK' is Halloween friendly scary music in a non
cliché way that shows a real mastery of sound, melody and rhythm.
Hopefully the band will follow this up soon with another full-length
album to show the full scope of their abilities again.

Blush
Response – 'Future Tyrants'

Blush Response's last release,
2014's 'Desire Machines' was a stunning blend of avant garde
electronics and intelligent dance music that consolidated Joey
Blush's position as arguably one of the most exciting electronic
musicians around today. Utilising modular synthesizers, Blush blends
a mixture of influences gleaned from glitch, ambient, industrial, ebm
and electronica to create something truly fresh and modern. Fast
forward two years and the now Berlin based artist releases his latest
EP 'Future Tyrants' on Aufnahme + Wadergabe. Distorted glitch
elements combine with subtle dance beats and throbbing synth bass for
a dark and satisfying sound that evokes the early works of acts such
as Front 242, Skinny Puppy, Die Krupps, Cabaret Voltaire, and Front
Line Assembly. 'Future Tyrants' is another feather in Joey Blush's
cap showing him to be a true master of his art. The album is
comprised of instrumentals, and that may turn off those who like a
nice lyric or two to get stuck into, but it doesn't hold it back.
These are four bold and forceful tracks that demand to be heard and
leave you feeling satisfied. Fans of the old school sound will
immediately dig it, while those newer to the classic ebm /
electro-indutrial scene will still find this an accessible point of
reference.

Celldweller
– 'End Of an Empire – Chapter 3: Dreams'

If the previous
album had been a scatter-gun affair then this time around it shows
that Klayton has learned his lesson and kept to a more unified plan.
'...Dreams' continues the sound-designed approach of the previous two
instalments with the instrumental 'Faction' tracks taking the
majority of the airtime around two central vocal tracks. This chapter
shows that the 'End Of An Empire' album is progressing nicely and may
even eclipse the eponymous début album. The fact it is being
released in chapters is still very frustrating as it would be great
to listen to everything in one sitting and take it all in properly.
However it seems as though Klayton has got this one completely under
control this time and we won't have long to wait to get the final
instalment.

In Death It Ends – 'Protogrammaton'

In
Death It Ends has maintained an intensive release schedule over the
past few years with multiple album, single, EP and free download
releases each year. This has already built up into an impressive and
enviable back catalogue that synthesizes elements of witch house,
post punk, gothic rock, industrial and darkwave into something
genuinely unique. 'Protogrammaton' marks the start of the 2015
release cycle in anticipation of the next full length LP 'Beneath
Eden'. Even though it is a free to download mini-album, that doesn't
take away from the quality of the music it contains. If this is your
first introduction to IDIE then 'Protogrammaton' is a good place to
start. It provides a good cross section of the band's styles and
influences in one accessible package. It isn't the most defining of
the back catalogue to date, but it still holds its own.

Keep an
eye out for more countdowns this month. In the meantime, what were
your favourite albums off the past twelve months? Let us know on our
Facebook page.